St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1887-04-11
"REGlsrERs OF THE VOICE.,
Another of Mr. Q uinn,s Interesting
and Instructive Lectures.

AnOthef Oh Mf. q ulun'S Interesting
and instructive Lectures.
M.L.Quinn addressed the Musical associa-
ton of GethSemane church Saturday evening
The various points were demonstrated by
examples in singing by Mr.. Quinn on the
subject of Registers of the Voice.
Some teach that all tones of the voice are
produced by the same process, j. e., there are
no registers in the humaa voice. Others saw
there are two registers; others say three reg
listers; others five. Those who say there ara
no registers are usually self-made teachers
j. e., they do not understand the fundamental
principles OF voice production. Garcia gives
three methods of producing tone, or three
registers but does not explain them cor
rectly. Seller gives five, but experience, acous-
tics and anatomy are all in arms against
this theory. The true theory, in my opinion,
is that given by the old Italian school, which
teaches, but does not explain, the reason
which shall endeavor to do. All voices use
chest tones-those made by the vocal chords
vibrating in their ENTHUSIASTICALLY.
Falsetto or tones produced by small edge
of the vocal chords vibrating. The mixed
tone is produced when the edge only of one
vocal chord vibrates with the whole of the
other vocal chords. When one learns the
mental effect of these changes they cannot
injure their voices so easily.
Deep, gentle and slow breathing enables us
to discriminate the correct relations of tones.
The Italian school teaches US 10 function all
tones by their respective mental effects. When
one plays or sings the scales the great thing
is to function each of the degrees. One can
never study the scales without a knowledge
of musical composition. The study of scales
does not, as many seem to think, mean repe-
tlt1on in a rapid, irrational manner. If we
study Shakespeare do we mean to rat
tie OIL his lines without any knowledge
or their meaning? Do we mean to say that
the one who can repeat the greatest number
or poetic feet per second is the greatest actor
or orator. think not. Musical poets, like
English poets, wish the functions of their
notes or words to be thoroughly emphasized
or Disseminated. If Barrett could not tell a
verb from noun. would he be able to rec
t1fy the lines of poet artistically? / think
| 1t is great advantage to him to know the
meaning of his lines and their relations to
the plot. The correct use of (a) ah eoualizes
| the tones of the voice, to unity it is good.
| A great many voices are ruined by the in
correct use ofnah ta). Mare, the celebrated
| master OF music in Berlin, remarks, "As we
are so we work-the mechanics mechanically,
the artist artistically." A teacher of singing
must live in each voice. The best master
| should always be chosen for the first lessons.
The foundation must be correct manage
menu OF the breath, the proper
formation of all novels, an easy and
| free information, MESA di voce, oorta-
| ments, and the art of equalizing the voice;
Gnu .uorougu kuoWieuge oI Cne elements or
functions OF musical tonality. With this
last anyone can converse in music, lie, they can
compose correctly. The natural and full de-
| velopment of the singing voice depends above
all on the difficult art of artistic breath
ing. Drink the breath while singing A
voice is worthless for artistic purposes
as long as the difference in tim
bre is observable in either register.
| we must have one voice, and yet there pro.
cesses must be employed in producing musi-
cal functions or tones. A picture of the
| Holy Trinity. Three in one. The personality
must be considered as well as the union of
the registers or the voicewill be ruined. Ex-